Why did you use British Actors?

Producer of the film “Keralavarma Pazhassi Raaja" asked Ilaiyaraaja, “Why do we need a symphony orchestra to record background score of a Malayalam film?”. Ilaiyaraaja replied, “Why did you use British actors in the film?”. Ilaiyaraaja remembered this conversation in the press meet he attended after winning the National Award for Best Background Score. Ilaiyaraaja wanted to use symphony orchestra to recreate the British era. I agree, but the film is also set in Kerala.

The background score cues for the War scenes sound too Western. If a cue from one of the war scenes of the film is played to someone who has not seen the film, he/she cannot guess that this is a music cue from a film set in 18th century Kerala. I feel that Ilaiyaraaja has deliberately done this to make the score and thereby the film sound global. For a film set in Kerala and for one that has so much of action, there is very little Kerala Chenda in the film. Again, this could also be a deliberate decision of Ilaiyaraaja, who never succumbs to such written rules.

For this film, I was expecting a score in which the Timpani in the symphony orchestra is replaced by Kerala Chenda and tribal drums, like how Tan Dun replaced Timpani with Taiko drums for "Crouching Tiger and Hidden Dragon" and “Heroes”. But, that was just my expectation. I cannot say Ilaiyaraaja about what should or should not have done.

On the other hand, listen to this piece. It is the cue played when Manoj and Padmapriya share a pleasant, private moment. The piece is true to the emotion, the romance and breeziness of the moment are perfectly captured, but there is not anything that suggests that Manoj and Padmapriya are Tribal folks. May be, it is not always necessary to stick to the roots. Emotion is the key. Melody is the key for emotions in music. The basic melodies in all background music cues are true to the roots but just that the instruments he uses and the way he orchestrates the pieces are quite western. Ilaiyaraaja himself told that in the press meet.

I am also not being cynical here. I am just having a loud thought and trying to decipher the reason. Maybe I should go back and watch the film again, entirely in one stretch. I saw the film only once on DVD and that too in two parts. First time while I was watching the film, I dozed-off in the middle of the film. I saw the remaining film a few days later.

P.S: Can some audio company do a nation-wide release of “Pazhassi Raja” background score CD with National Award winning background score tag, at least now?

Michael Giacchino 'Up' with an Oscar

Reposting a reedited version of one of my old write-ups on Michael Giacchino’s UP score

With swinging rhythms, mute trumpets, clarinets and xylophones in ‘UP with Titles’, Michael Giacchino takes us back in time, sets up a laidback mood and builds curiosity in a listener who just returned from listening to his music at its bombastic best in ‘Star Trek’. The moment the piano hits the first four notes of the gorgeous main (Ellie’s) theme on Piano in ‘We’re in the club now’, it is evident that this is the main theme of the movie that is going to be rechristened itself into various forms; that is going to be played on every single instrument of the orchestra and that is going to be hummed by every single member of the audience who come out of the cinema hall after watching the movie.

The main Ellie motif is packs so many varied emotions - nostalgia, romance, grief, and solitude in it. These are exactly the emotions that Ellie leaves behind for Carl. It is the heart and soul of the score of ‘UP’, which is so evident in the very next track ‘Married life’ where the theme is floated on a waltz rhythm, swaying its way through the emotional highs and lows of the life journey of Carl. Every soloist in the orchestra gets his few seconds of fame by playing the theme for most memorable and also painful moments in Carl’s life. The mood shifts in those 4 minutes of montage masterpiece are carefully underpinned by a shift in the instruments, a shift in the tempo of the theme and a shift in the emotions spilled by the backing arrangements.

It is in ‘Carl Goes Up’, for the first time in the score, the string section wakes up (so does we the listeners, wake up to the sudden appearance of an enchanting string section that sounds refreshing and uplifting after umpteen solo versions of the theme) to a brisk swirling and stirring for Carl who gears up to fly high with his house. Carl attempts to liberate himself from the loneliness and the darkness that has now completely engulfed his life. It is in this piece, the main theme moves on from solo instruments to a group of violins as Carl moves out from loneliness to an adventuresome journey in his life. After the initial hullaballoo created by string section for taking off, a serene peace sets in as Carl’s fly becomes steady and stable. The orchestra descends down in its volume playing its final notes and leaves its way to a solo guitar to play the main theme piece to sound that serene peace when Carl relaxes in his chair looking at Ellie’s portrait.

The full orchestra show up for the first time with a dominant brass section in ’52 Chachki Pickup’ playing an edge of the seat action cue for hiccups he has in floating his house against the storms. ‘Paradise Found’ is an ambient piece with soothing strings cascading one over the other to reveal a picturesque beauty of the place that Carl and Ellie always wanted to visit together. ‘Walkin’ the House’ has a comical rhythm to it and it is setup to the rhythm in which Carl’s pulls his floating house with Russell hanging along.

The moment I heard the pulsating rush in the riff that plays on strings in the beginning of the next track, I thought of Michael Giacchino’s earlier works ‘100 Mile dash’ from ‘The Incredibles’ and ‘100 Rat Dash’ from ‘Ratatouille’ and when immediately saw this track’s name I smiled. Yes, it is another dashing theme; it is ‘Three Dogs dash’ this time. Two of the other dashing themes are my all time favorites in term of orchestration and here is another one. There is at least one scene in every Pixar movie where things dash each other and Michael Giacchino puts a connecting link to all the movie scores through a similar musical riff.

In ‘Kevin Beak’n’ enters the bird Kevin, which is one of the principal characters of the movie. It has got its own beautiful theme which is established here, which sways to its characteristics. The Congo drums adding a unique rhythm to the way Kevin moves, bass clarinets plays the main theme for Kevin’s salient features. Giacchino often uses different drums and Chinese percussions instead of usual Timpani’s in his action cues and such percussions along with the malicious flute melody work well in ‘Canine Conundrum’ that is played when Carl and Co are chased by Muntz’s dogs.

Until I heard ‘The Nickel tour’ I was thinking of the theme that got introduced in ‘Up with Titles’ as a one-off piece. In this track, the theme reprises in its orchestral form and I understood the complete beauty of the theme in this track. In the immediate next track ‘The Explorer Motel’, the same theme turns darker. The first high rush, bombastic action cue arrives in ‘Escape from Muntz Mountain’, and from the name it is very clear that Carl is escaping from Muntz, who wants the bird Kevin. The music slavishly twists and turns according to the visual action, and in spite of the randomness that could easily creep in such action cues the composer maintains coherence with catchy riffs and ostinatos keeping it as a one homogenous piece and easy listen even off the visuals.

‘Giving Muntz the bird’ starts on a happy note with Kevin’s theme and suddenly darkness spreads over as Muntz is chasing to take the bird from Carl. The Muntz’s theme (the theme from the track ‘Up with Titles’) turns completely dark in this track. As Muntz’s devilish intention become clearer, the theme gradually moves on from soothing string section to the darker parts of the audacious brass section.

‘Stuff we did’ made me realize how terribly I missed the main theme of the movie thus far. The theme reappears to evoke nostalgia and the chords and counter melodies helps the theme in bringing the emotion to complete effect.

Don’t believe the negativity in the title ‘Memories can weigh you down’ of this track, the sound is anything but negative. All this while, I was lying on my bed and listening to the soundtrack on my iPod. When I heard the whole orchestra freaking and breaking out playing the reprise of the main theme that we didn’t hear for quite some time, in its most energetic form, I got goose bumps all over. The love theme is played like a fanfare theme in all its glory with brilliant counter melodies and harmonies. It sounds like Carl has pumped up all his energy from his memories of Ellie to fight Muntz. And that glorious streak continues in ‘The small mailman returns’.

‘He’s got the bird’ and ‘The Spirit of Adventure’ follows up with Carl’s high energy and his actions to encounter Muntz to win Kevin. It is a freaking roller coaster ride of action music that alternates between Ellie’s and Muntz’s themes in which the whole orchestra is playing with an adrenaline rush, pumping more and more energy and pace into the music.

‘It’s just a house’ starts with the theme we heard in ‘Walkin’ the house’ and soon moves on to a spirited orchestral version of Ellie’s theme. At the end of all things, Carl understands that the memories of Ellie is more important than the house and leaves the house behind. The theme as it progresses grows weaker and weaker and finally leaves way to the overpowering orchestra to take over Ellie’s theme. In ‘Ellie’s badge’ the theme returns to its original simplistic form.

‘Up with End titles’ is a compilation of all major motifs from the movie. Ellie’s theme, Muntz’s theme, House theme is all connected into one seamless music piece. In spite of having listened to them in various forms all through the soundtrack, when all the major themes from the movie parade one after the other with a new orchestration, it is hard to skip.

The OST of ‘UP’ is one wholesome soundtrack. I can listen to each and every track of this score without skipping. The last Hollywood movie OST that I could say the same about was that of ‘Wall-E’. ‘UP’ music has created a lot of curiosity in me about the movie. I am sure my admiration and liking to this score will be even greater after watching the movie. My only grouse is that the score is not released in CD; it is only available for digital download on amazon.com and on iTunes.

Now, here is one of my favourite cues from ‘Up’ which wasn’t a part of the Original Soundtrack release. It is a dramatic music piece scored for the scene in which Carl Fredrieksen is shown doing his daily chores alone after Emilie’s death. Conventionally any composer would have played the Emilie’s theme on a sober scale in a solo piano to evoke a sense of loneliness but for the way this scene is cut showing the boredom of Carl, this approach works and makes us feel that he has learnt to get on with his life. The grand bangs fit aptly as we witness how the surroundings of Carl’s house have changed for worse.

Michael Giacchino – It’s time for an Oscar. Of course I expect something big from James Horner for James Cameroon’s ‘Avatar’. But considering that it is a sci-fi movie, I doubt if it would outdo the simplistic charm of your score for ‘UP’.

And the Award Goes to..

Ilaiyaraaja’s score for ‘Naan Kadavul’ would definitely sound divine if heard as a standalone piece of music, but despite evoking apt emotions, it ended up sounding loud in the film. With ‘Eeram’ Thaman.S has finally arrived. Thaman has perfectly understood the film’s requirements and has given a score that helps to enhance the gloom, intrigue, thrill and eeriness in the visuals. The 13B score by Tubby and Parik is too loud to be called even average but still wanted to nominate to know how many actually liked this kind of loud scoring for a thriller. Shruthi Hassan managed to not draw any attention to her edgy Rock music score in “Unnai Pol Oruvan” and for a starter that is quite an achievement. Karthik Raaja’s orchestral riffs of tension and suspense, though doesn’t lift up the dull film, is apt in ‘Achamundu Achamundu’. I nominated James Vasanthan’s score for ‘Pasanga’, for no particular reason. I liked the film and liked music cues in some of the scenes which I don’t exactly remember now. The music just flows smoothly with the tone of the film, neither too subtle, nor so overpowering. It is important to note that James didn’t resort to any childish stock sound bytes for comedy scenes involving children. I haven’t seen Yogi yet.

My Favorite – Thaman.S for Eeram

Poll Result



Ilaiyaraaja is at his usual best in ‘Paa’. The enchanting violin theme of Auro needs no introduction. The chirpiness, the sarcasm and witty charm of Auro is embodied in the way Raaja plays the theme with playful staccato pauses between notes and phrases of the main melody. Though it was a melody originally composed for a somber philosophical number about soul wandering, Ilaiyaraaja proves that a composer can tweak a piece of music or a melody to evoke any desired emotion.

Rocket Singh – Salesman of the year is in my opinion, one of the toughest films to write a background score for, for any composer. The film is set in a pace that is true to real life by the writer and the director but the burden of adding rhythm, energy and pushing the momentum has been delegated totally to Salim-Suliaman. It annoys me when a filmmaker, who is unsure of his screenplay, pushes the job to the thump and loudness of a background score and wants it to solely carry the narrative through, but it worked perfectly for this film. It is a tough rope to walk on, but Salim-Sulaiman has succeeded in doing that. The score pushes the momentum to a desired extent and yet never overpowers the proceedings. It would be interesting to know what transpired between Shimit Amin and Salim-Suliaman, when they discussed the background score and the general aural tone of the film.

For the freaking madness of a capper “Kaminey”, Vishal Bharadwaj’s score is as gloomy as Tassaduq Hussain’s cinematography. Vishal resorts to retro and western for action and chase scenes with the theme ‘Go Charlie Go’ recurring throughout the film, and switches to a surreal classical orchestration for Charlie’s colorful dreams. The Charlie and Guddu’s flash back aided by an aching violin solo tries to add an emotional heft to what happened in the past. The mad rock-choir song (which wasn’t included in the Soundtrack CD) that converge all parallel lines to an exhilarating climax is the cherry on the cake.

I have already written about Amit Trivedi’s Score for “Wake up Sid” here and also about why I didn’t nominate Dev.D here.

My Favorite – Amit Trivedi for Wake up Sid

Poll Result

And the Nominees are..